Collecting area: Europe

The Dominikanerinnenkloster St. Gertud (Dominican Convent of Saint Gertrude) operated in Cologne, Germany, for nearly five and half centuries. An important center in connection with German mysticism in the 13th and 14th centuries, the Kloster survived the Reformation, however persistently poor finances led to its decline in the 18th century. After it was abolished during a wave of secularization on October 14, 1802.

This diminutive book of hours was prepared by Dominican nuns at the Kloster St. Gertrud during the 1480s. Like some other German books of hours it lacks the calendar, Gospel lessons, and the two prayers to the Virgin, Obsecro te and O intemerata, however it includes additional liturgical texts, such as Offices for major feasts, as well as music for the funeral service. This copy may have been made for or by the prioress Magdalena Frankengruenerin (1481-1488), and remained in the convent until the eighteenth century.

An Italian poet, journalist, novelist, and dramatist, Gabriele D’Annunzio enjoyed a flamboyant career in international affairs after the First World War when he raised a small army and seized the port of Fiume (now Rijeka, Croatia). Failing in his attempts to annex his territory to Italy, D’Annunzio reigned as Duce over the micro-state for over a year before being forced to relinquish control.

The fifteen imprints comprising this collection of scarce broadsides, all printed in the short-lived Free State of Fiume. During the brief period of his reign in Fiume, D’Annunzio issued propagandistic broadsides, proclamations, and leaflets almost daily, often distributing them by airplane drop over the city. Included is a rare first edition of D’Annunzio’s most famous piece from the Fiume period, Italia e vita.

UMass Amherst faculty members Walter Denny (Art History) and Joel M. Halpern (Anthropology) collaborated in 1997 on an exhibition in the University Gallery exploring Bosnian multiculturalism prior the Yugoslav civil war. Denny, a specialist in Islamic art, and Halpern, an ethnographer whose research in the Balkans began in the early 1950s, assembled dozens of images from eight photographers depicting Bosnia from the nineteenth century to the start of the civil war, illustrating both the past history of the region and then-current attempts to erase that history in the name of cultural purity. The final part of the exhibition included a set of prints first exhibited in Sarajevo in 1992 comprising creative reactions to the war by Bosnian artists.

This small collection consists of 38 matted prints, 20×24″, that were part of the Thin Veneer exhibition in April through June 1997. All were taken by Halpern during field work in Bosnia betwee 1953 and 1996.

The concept of product marketing in a Communist state may seem slightly incongruous, but in the countries of the Eastern Bloc, consumer goods were packaged and sold with much the same care as they were in the west. The Packaging Design Collection contains examples of quotidian products sold during the post-war period, ranging from boxes for soap powder to toothpaste, shampoo, and sugar sacks. The collection documents the visual language used on consumer products in East Germany and the evolution of graphic design in the Communist states of Eastern Europe from the 1950s through 1980s.

From the official optimism of the post-war years in East Germany through the dynamic press of the 1970s to the end of the regime in 1989, the state and its critics developed a distinctive print culture that was reflected in its literary and artistic output and in its popular and academic works.

The DDR collection contains miscellaneous volumes printed in East Germany, including literature and drama, touristic books, popular history, works on the arts, and a variety of academic and reference works.

View the full DRR collection in the library’s catalog.

The graphic artist Siegfried Ebert had an important influence on the visual language of East German television and animated motion pictures. Born in Eibau on July 20, 1926, Ebert was drafted into the Luftwaffe in 1943, but shortly after going on active duty, he was severely wounded and taken prisoner by the English. After his release, Ebert shifted course in life, studying commercial art at the Kunstgewerbeschule Zittau and film at the Hochschule für bildende und angewandte Kunst in Wiessensee. He became one of the earliest artists to specialize in the new medium of television, working for Deutscher Fernsehfunk, doing graphic design and animation. A member of the Verband Bildender Künstler Deutschlands, he later worked on animated films for the DEFA studios. Suffering from ill health for the last several years of his life, Ebert suffered a heart attack in November 1985, and died at home shortly after his sixtieth birthday in 1986.

The Ebert Collection includes a small assortment of correspondence, awards, and biographical materials, along with examples of his graphic work for television and film. Among other unusual items in the collection are attractive handbills (small posters) for Progress and DEFA films, some original sketches, photographs and mockups of his artwork for television, and an assortment of personal and professional ephemera.

The European Field Studies Program has played a critical role in graduate and undergradute training in the UMass Amherst Department of Anthropology since its inception in the late 1960s. The program provides opportunities for graduate students and honors undergraduates to gain practical experience in fieldwork by taking part in intensive projects at selected sites in Europe. The program is designed to assist students in developing concrete research plans and to begin to put their plans into effect.

The EFS collection contains correspondence between faculty and students about fieldwork, student research proposals and final reports, publications and data on the distinguished lecturers, departmental memos and meeting minutes, and range of other miscellaneous and financial material.

The title Earl of Derwentwater was created under King James II in 1688 for Francis Radcliffe of Northumberland, and for sixty years thereafter, members of the Radcliffe family stood among the most prominent Jacobites in the north of England. One of Francis’ grandson, James, the third Earl of Derwentwater, became embroiled in the Rebellion of 1715 and was beheaded in the London Tower for high treason, and another son, Charles, the so-called 4th Earl, was beheaded for his part in the Rebellion of 1745.

Assembled by John Fenwick, who may have been a distant relative of the Radcliffes, this collection of Radcliffiana includes a mixture of original documents, 19th century transcriptions of originals, published works, and prints, all pertaining to the Jacobite Earls of Derwentwater. Set into paper frames and bound into more or less elaborate leather volumes, the documents cover the period from the English Civil War through the fallout after the execution of the 3rd Earl. They are focused primarily on the personal fates of the Earls, their Northumberland estates, and the genealogy of the Radcliffe family.

An East German Prosecutor General, Carlos Foth was a key player in the legal effort to investigate and punish Nazi war criminals. For two decades beginning as a law student in Berlin in 1947, Foth was part of a team dedicated to the prosecution of former Nazis, and he contributed to the creation of an antifascist internationalist system quite distinct from the weaker efforts in West Germany. Having assisted in high profile cases such as those stemming from the Koepenicker Blutwoche (the SA-led pogrom in Berlin in June 1933), Foth found himself at the center of investigations that highlighted the tensions between the East and West German systems. In a series of cases in the early 1960s, East German prosecutors uncovered former Nazis working in the West German judiciary, culminating in the 1963 “show trial” conviction in absentia of Hans Globke, National Security Advisor to West German Chancellor Konrad Adenauer, who had been the author of Nazi racial purity laws. As department head for international relations beginning in 1972, Foth was engaged in negotiations between the German legal systems and in 1979 he was invited to assist in the investigative phase of war crimes trials against the Khmer Rouge. He left office after reaching retirement age in 1988.

The Carlos Foth Papers offer important documentation of East German attempts to hold former Nazis accountable for war crimes and crimes against humanity and they provide insight into the operation of the East German legal system and its relations with the west. In addition to materials on prosecutions of SA Brownshirts involved in political violence during the Köpenicker Blutwoche, the collection includes files relating to prosecutions of West German officials accused of Nazi-era crimes and materials relating to Foth’s role as a consultant to the 1979 war crimes trials against the Khmer Rouge.

An East German actor, writer, and film director, and an insightful analyst of German culture and film history, Jörg Foth was born in Berlin on Oct. 31, 1949. After completing military service and working briefly in television, Foth entered the Hochschule für Film und Fernsehen „Konrad Wolf“ in Postdam, graduating in 1977. During his long ascent through the East German film system, he worked as an assistant director at the DEFA Studio and in GDR television and collaborated with Ulrich Weiss and others. His directorial debut came in 1984 with the children’s film Das Eismeer Ruft, however it was another six years before he was permitted to direct his second film, Biologie!, the only DEFA feature ever to deal with environmental issues. A few months after he was promoted to Director, the East German political system collapsed and the DEFA studios were closed. Foth has since worked as a freelance director and writer for both film and television.

The Foth collection provides unique insight into East German cinema; the diverse career of a noted writer, director, and actor; and more generally, the shifting artistic environment during the last years of the DDR. Along with writing and research materials from many of Foth’s films, the collection includes a range of writing, ephemera, and on topics ranging from film theory, the theater, and literature to Marx, Stalin, and Lenin.